Super Jazz Club On Being The Unique Test Of an Impressive Disco…

The Ghanaian Creative Collective; Super Jazz Club is Focused On Curating An Interdimensional Sonic Experience For Everyone. Taking pieces from everywhere and creating an out-of-the-world experience for listeners irrespective of their personal sonic dispositions, there is a Super Jazz Club track for you.

From their debut release titled “Couple Black Kids” to “Faded,” the last song on their most recent EP released on “Monochrome Radio,” it has been six years of undiluted quality. The in-house production, a result of team collaboration, has produced an impressive lineup of tracks forming a rich discography. Their music spans diverse genres, including Afrobeats, hip-hop, R&B, folk, jazz, and alté-soul. Filled with sincere lyricism, their songs address themes ranging from love, despair, desderium to heartbreak and other prevailing issues faced by the average person. Their ability to seamlessly blend different musical styles and poignant themes has made their work resonate deeply with a broad audience, showcasing their versatility and commitment to their craft.

The collective, whose name was coined by ‘BiQo,’ chose their name to reflect the core jazz sound that serves as the foundation for their music and their profound love for the genre. Comprising (9) nine incredibly talented individuals, some with designated roles and others with overlapping responsibilities, the group includes Ansah Live, Anthony Orleans-Lindsay, BiQo, Gloria Dennia, Joey Turks, Oliver, Seyyoh, and Tano Jackson. This composition brings to light the unique sound direction that The Super Jazz Club Collective offers. Their synergy and collaborative spirit produce a distinctive blend of jazz and other genres, showcasing each member’s exceptional skills and contributions.

“Couple Black Kids,” an introduction track, is laced with a powerful message to the world. As a debut track, it acts as a two-way premonition for how their journey would unfold. On one hand, it establishes a great foundation for their sound, making an immediate impression as music with substance—a “real recognize real” moment. On the other hand, it raises expectations, as it feels exceptionally strong for a debut. This initially created pressure for subsequent releases to outdo the debut. However, these fears were allayed with the release of “Bordeaux” and subsequent projects, which consistently proved the high quality of their music.

The world might have been in lockdown in 2020, but the Super Jazz Club collective had their attention fixed on a bigger picture, as evidenced by their releases during that year. They kicked off with the release of “Cellular,” announced as an excerpt from their forthcoming EP later that same year. During their interview with The Pan African Music Media, Ansah Live mentioned that the visuals for “Cellular” were inspired by the final scene of Donald Glover’s “Guava Island.” Their focus and creativity during this period showcased their resilience and dedication to their craft.

Early in 2021, they released their album “For All the Good Times.” The 8-track album is characterized by creative individuals who are intentional about their artistic direction and sonic composition.

This is evident from the realization that about three tracks are dated to the intro on the opening track, “July 5,” and the vulnerability shared on it. The narrator opens the album by documenting a voicemail message. The depth of vulnerability is palpable, as the reference to Independence Day in America creates an imagery of festivity and celebration, which is juxtaposed with a sense of suppression. As she says, “Sorry guys that I haven’t been really answering your calls, it’s just that I don’t really know who I am,” the opener feels heavy. This sense of safety, comfort, and relatability is what the collective brings to their audience.

Upon further listening, the dates document a seemingly catching-up conversation between friends on different continents. On “July 21,” the narrator gives feedback on her promise to listen to the tracks sent earlier, expressing her satisfaction with the second track, “Games,” and highlighting the chorus as her favorite part—a sentiment likely shared by many listeners. On this album, they once again brilliantly explore their eclectic taste and experiment with multiple genres. The execution is brilliant and showcases their versatility and creativity.

The last track, “August 21,” is highly relatable, especially for those affected by the “Japa wave,” with friends leaving to live on the other side of the world. It recounts memories of apologizing for being M.I.A. and catching up. The line, “This voice note is going to be long but sorry, not sorry,” and the plan to make up for the missed time together in December, resonate deeply with young individuals navigating life away from their friends and hometown while simultaneously striving to maintain those close ties and bonds despite the miles, hours of travel, and time differences between them.

The release of “Cameras” notably served as an avant-garde sonic expansion moment for the group. It features a psychedelic, electronic, alternative, and melodic mix that adds depth to their robust discography.

It’s 2024, and it’s fair to say the collective has kept their end of the bargain, establishing themselves as a consistent force in the music industry. In five tracks, the group maintains their commitment to quality music since 2019, never derailing but continuously improving. It’s safe to say that if “Couple Black Kids” were re-released, it would still be unquestioned in terms of production quality, harmony, or sonic delicacy. “Monochrome Radio” once again features in-house production; however, the third track, “Uno,” features the uber-talented UK artist Benji Flow.

“Off” addresses the theme of heartbreak and the feeling of longing. It’s a groovy tune with deep, introspective lyrics, capturing the wish for different circumstances. The lyrics “Fuck a heartbreak song, I know you still think about our lust, think about our love” seemingly reference unresolved emotions and memories. The fast-paced, jazzy chorus with its “left-right” rhythm makes it one of the songs that can get any party going.

“Loose” is a personal favorite. It’s groovy, with instrumentals that combine a folk-like feel over a core jazz element, and a mix of alternative R&B and soul that heals the soul and provides comfort. It’s a go-to song for relaxation and introspection. The best part is the line, “Roll a disc, roll it twice, wanna feel something,” which most likely will resonates deeply with listeners.

“911” is the third track off the “Monochrome EP”. It’s one of those songs that makes you question your favorite track. A solid standout, it features a mixture of hip-hop, rap, and sultry alté, creating a unique and captivating sound.

“Uno” has an Afrobeats core infused with jazz elements, dancehall rhythms, and sprinkles of reggae and hip-hop within its sonic arrangements. These elements do not detract from the soulful essence and emotive lyrics, especially evident in the refrain. The lyrics go:

Hold up, what’s the hold up, bring it over

Never tell a lie, I’m about to be so gone

Never sober, keep composure, out of touch, don’t hit my line.”

A look at their discography, the applaudable concept behind releasing “911” in an acapella version and “Off” as an instrumental denotes a collective that truly understands their audience. It’s like watching a movie in 4K at 60Hz, but this time in music form. The Super Jazz Club collective stands as a symbol of cool music, cultural representation, and the beauty of teamwork, especially when the members have foresight and creative vision.

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